Working in wire is a manifestation of my desire to be on the edge of creation. Since few artists historically have sculpted in wire, wire remains on the edge of human expression. There is also a freedom to sculpting in wire, for wire has no great master whose shadow I am under. I also sometimes feel as if there is no ground under my feet, since there is no canon to follow. Therefore, as I create a piece, I am discovering the possibilities of wire as a medium, which are forever changing, forever unfolding.
By choosing wire as a medium I am expressing my commitment to a sense of curiosity and to the process of discovery. To make a bronze or stone sculpture is to say something permanent, to make a decisive statement. But in wire I am free to keep my work and my world in the realm of poetry.Wire is, in essence, a line you can hold.Each face or bust that I sculpt is a perpetual unfolding. When I pick up a pair of pliers and start to work, I am mapping out negative space to aid you, the viewer, in the process of constructing a three-dimensional form out of line. I begin by sculpting the eye, take an idea as far as I can at the moment, and stop when I no longer see the obvious next step. When inspired again - almost in a flash - I return to working on the piece. Trust in the process and the ongoing challenge keep the work fresh.Using wire as line, even the finished work is forever changing. Place a piece in the middle of the room and walk around it. Observe both the piece and its shadow- the culmination of hundreds of angles, moving and shifting from one vantage point to the next. Each angle shows a different aspect of the person, reflects a varying mood. Wire defies static encapsulation; the piece refuses to sit still and just be.